Archive for June, 2012

Post 6 – Album art – Peter Saville

Posted: June 27, 2012 by kahraokeefe in Uncategorized

Probably most noted for his record and album cover designs for Factory Records, Peter Saville was a designer whose career spanned several decades. His early work, in the late 1970s and early 80s, included album covers for several bands on the Factory Records label, but the ones that achieved the highest level of fame were for New Order and Joy Division. The bands that really brought the record label into the spotlight, Saville designed the covers for many of the two groups albums between the years of 1979 and 2005. His work was heavily imbued with original typographic style. He used anything from very basic typefaces, in simple blacks and whites (like some of the Joy division covers), to more complex fonts ( see Pulp’s ‘We Love Life’ album cover).

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He was notably influenced by the book Pioneers of Modern Typography by Herbert Spencer. The book included information that explained how modern typography had actually developed out of the ideas of 20th century painting, poetry and architecture, and not from the development of the printing industry. After Factory Records he worked for DinDisc, spent three years as a partner at Pentagram, was an art director at Frankfurt Balkind and eventually started his own studio. Throughout his career he has worked in the music industry, creating album covers for bands including Duran Duran, Wham! and Roxy Music.–-an-exhibition-featuring-works-by-peter-saville-and-kevin-cummins/



Posted: June 25, 2012 by mypalmick in Uncategorized

NAOKI POST11: Forever Youth Icon JIMMY

Posted: June 24, 2012 by mypalmick in Uncategorized

Post 7 – 1902 – Franklin Gothic – Monique

Posted: June 24, 2012 by moniquemwilson in Uncategorized

Franklin Gothic Typeface

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Franklin Gothic is an extra-bold sans-serif type which can be distinguished from other sans serif typefaces, as it has a more traditional double-story g and a. Other main distinguishing characteristics are the tail of the Q and the ear of the g. The tail of the Q curls down from the bottom center of the letterform in the book weight and shifts slightly to the right in the bolder fonts.

It was named in honor of a prolific American printer, Benjamin Franklin. The faces were issued over a period of ten years, all of which were designed by Benton and issued by A.T.F.

Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. Despite a period of eclipse in the 1930s, after the introduction of such European faces as Kabel and Futura, they were re-discovered by American designers in the 1940s and have remained popular ever since.

  • Franklin Gothic (1903)
  • Franklin Gothic Condensed + Extra Condensed (1906)
  • Franklin Gothic Italic (1910)
  • Franklin Gothic Condensed Shaded (1912)

Some time later, the foundry again expanded the line, adding two more variants:

  • Franklin Gothic Wide (1952) designed by John L. “Bud” Renshaw
  • Franklin Gothic Condensed Italic (1967) designed by Whedon Davis


  • New York University lists Franklin Gothic as an official font.
  • Franklin Gothic is the headline and article title font used by Time Magazine.
  • The Franklin Gothic font was the resident typeface of the PBS series The Electric Company.
  • Franklin Gothic is the official typeface of the Museum of Modern Art in New York.
  • The film Rocky’s title is Franklin Gothic Heavy.


Post 8 – Futura Typeface – 1920’s – Monique

Posted: June 24, 2012 by moniquemwilson in Uncategorized


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In typography, Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1927.

The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928.

The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o.. In designing Futura, Paul Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals.

Futura’s success spawned a range of new geometric sans-serif typefaces from competing foundries, and remains one of the most used sans-serif types into the twenty-first century. Particularly during the 1950s it was used extensively by the publishing industry as a general purpose font. Futura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font. The font is also used extensively in advertisements and logos, notably by IKEA (until 2010), Volkswagen, Royal Dutch Shell and HP in their print ads.


Post 11 – Portfolio Magazine – 1950’s – Monique

Posted: June 24, 2012 by moniquemwilson in Uncategorized

Portfolio Magazine

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There once was, for a brief and brilliant time, a wondrous experiment in design arts publishing entitled PORTFOLIO, a magazine created under the leadership of Frank Zachary and George S. Rosenthal (editors) and legendary art director Alexey Brodovitch. . Only three volumes were published, each issue exquisitely crafted and curated.

Portfolio magazine, created in 1950, was a graphic designer’s utopian dream. The goal: complete creative freedom and no advertising. Each feature was meticulously conceived through copy, art and layout, and paper stock where possible. Unfortunately, refusal to allow advertising to infect the flow of the magazine, and the choice to create a no-expense-spared publication, led to its quick demise – only 3 issues were published from 1950-1951!

The highest quality materials were used in producing the magazine and incorporated inserts such as 3D glasses, wallpaper samples and shopping bags. Dissatisfied with the types of ads they received, the decision was made to not include advertising.

Volume 1 was published in 1949, first issue contents featuring work by future icons Paul Rand, Saul Steinberg and E. McKnight Kauffer. Volume 2, a personal favorite, shared the incredible design for a kite by Charles Eames. Volume 3 gave us work by Ben Shahn, examples of stereoscopy and an extended visit with Alexander Calder’s work.

Portfolio was truly a high point of American graphic design, Portfolio magazine captured the dynamic work of some of the best emerging artists of the time and used beautiful printing techniques. Portfolio became the paradigm of what a modern graphic design and applied arts magazine should be.

Portfolio was, and still is, considered Brodovich’s greatest achievement. The publication may have died, but its superb style and extensive influence lives on.